321 Gallery is pleased to present four evening showings of Postictal Paradise, a performance by David Kirshoff revolving around his recently completed video trilogy All Shook Up.

As four nights of dinner theater, the exhibition is a multi-screen, multi-sensory mash: a cinematic experience, a swirling vaudeville swamp.

When the mind is serene, like an ancient and placid pond, the splash of a frog entering the water can reveal the way of the universe. Jarring reverberations induce renegotiation and deeper understanding. Three characters form a confederacy of dunces to usher the viewer on a journey through such disruption. One is an amphibious man. He’s a slippery gentle hop—an all-knowing dependable friend, a dancer type. There’s also a phony—a man who’s something of a has-been wannabe, a sloppy rocker, a relic, a greasy jukebox trickster tune just before last call. Stained belly, stray hairs. The third costar is grampa, the bedridden wisp of a downtown heartbreak. A wallowing story, a whip-cracking smell of the old days, inviting you to come along.

Please reserve a seat for a given date by emailing postictalparadise@gmail.com.
Seating is limited to twenty seats for each performance.

David Kirshoff is a Brooklyn based artist who creates immersive experiences using a combination of objects and atmosphere. He received a Bachelor of Industrial Design from Pratt Institute and has shown with 99 Cent Plus Gallery (2016), Red Bull Studios (2015), KnowMoreGames (2014), Violet's Cafe (2013), el Museo del Barrio (2013), and Handjob Gallery (2013) in New York and Welcome Screen (2014) in London.

99¢ Plus is pleased to present TELEVISION, curated by Sarah Largess and B. Thom Stevenson. TELEVISION explores the ability of a stationary object to both bring people together and transport them to a different time and place. TELEVISION allows viewers to view and to be viewed. TELEVISION is vast. TELEVISION contains multitudes. All the artists have contributed work ingray scale, creating a peripheral illusion of stepping into a black and white TELEVISION.

Amos Eno Gallery is pleased to present Paper Fête, an exhibition of works on paper drawn from a public call for artists. Please join us at our late night events on Friday, December 2 when we will be open until 9 PM. The reception and holiday party will be held Friday, December 9, 7 - 10 PM.
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Artists in the exhibition responded to an open call to exhibit work in the humble, accessible, personable and affordable medium of paper. Recent political events have put some people in the mood for commodity, while creating for others an urgency to communicate. Works in this exhibition represent a range of contemporary concerns; feminism, race, governance, as well as formal concerns including the celebrated handmade collage and the seamless digital.

“Works on paper have an experimental nature,” says exhibition curator Mary Gagler. Overall, works on paper are not premeditated to the same degree as works in other media like painting. Paper as a medium is more fragile and ubiquitous, without the same long history of painting as an art form. It is also increasingly superfluous, no longer required for receipts or movie tickets. Like the VHS tape, which was once the sole medium for sharing instructional videos and favorite TV shows, paper pulp is commodified based on content alone.
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This exhibition features work by: Eric Banks, Samuel Bennett, Annemarie Coffey, Nancy Elsamanoudi, Chris Esposito, Tim Gowan, Matthew Greco, Kenneth Hill, Roman Kalinovski, Everett Kane, Barbara Lekus, Heather Lyon, Heidi Neff, Anjuli Rathod, Constance Slaughter, Meredith Starr and Claudia Tait.

For her new commission at Art in General, Dineo Seshee Bopape will create a large-scale, immersive installation using materials such as soil, clay, brass objects, charcoal, flowers and crystals. The project is Bopape’s first solo exhibition in the United States, and is presented as part of Art in General’s New Commissions program.

Bopape is known for her practice that combines a digital and analog aesthetic, as well as natural and man-made elements such as plants, wood, mirrors, and video monitors. The sePedi language title can be translated literally as that which is of _is dust, (that which is of dust is__). In this commission, which is partly inspired by her recent presentation at the 32nd Bienal de São Paulo, Bopape explores the complex sets of relationships and tensions that arise when considering land from the perspectives of gender, memory and the politics of place. In this new work, she also taps into the inherent sonic capacity of the soil and objects themselves as a way of revealing ‘eerie’, ‘uncanny’ or ‘magical’ associations.

Booklyn is pleased to present “perhaps all the sky is unable to turn a page of this tightness of the heart,” an exhibition of prints, collages, and a new artist’s book by Golnar Adili.

Since 2009, the bulk of Adili’s work deals directly with the extensive personal archive of family letters and documents that she found upon the death of her father, a member of the Iranian intelligentsia who was forced to flee in the wake of the post-1979 revolution. Adili negotiates these textures of her personal history as one might a quilt formed from the clothing of many garments. Glimpses from literature, Persian poetry, and Iranian cultural and political history coexist amidst a palpable emotional subterrain.

“There is so much here that my father clearly knew I would eventually see.”

The exhibition at Booklyn focuses on two series formed from this material. One is a selection of large hand-made prints redacted from an impassioned set of letters that Adili’s father wrote to a lover: the writings exist as a repeating set of the Persian vowel “yeh,” which resembles the upcurve of an ocean wave. Assembled in a visually similar shape are a set of epigrammatic collaged drawings that Adili has culled from family photographs of hands. A new artist’s book arranges these works together into an attentive, notational visual language, contextualized by Adili’s own writing.

Endless gestural repetitions of hands, fingers, and the occasional forearm are mitigated by a constellation of threads of graphite and the patterning formed of aligned images. Adili examines such visual movements as might a scientist studying the habits and patterns of a species. So too the collages nod back to the photographic studies of Eadweard Muybridge. The obsessiveness is devotional: endearing, affectionate: a psychological and physiological portrait study of the father. Through this emergence, it is at once a specific father; her father, and yet one who figuratively approaches an archetype, existing simply as a person whose presence remains only in words and papers, in the memory and investigative imagings of another generation.

In this way the work exudes a resilient universality, bringing with it questions of identity, memory, loss, place, and translation; seeming bedfellows of an unconquerable longing to understand one’s history.

This exhibition is made possible in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and additionally in part by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

The light changes. A different shape, a different form. It’s moving, not still.

So what pushed you to place that there? Who said where to look?

No one meant for that___to cast a shadow, but it did, and you saw it, and it formed an image like this.

Heather McKenna (b. 1991, Santa Cruz, CA) lives and works in Brooklyn, NY. She studied fine arts at the Pratt Institute and the Glasgow School of Art, receiving her BFA in 2013.

Recent exhibitions include A Line From Here to There with Nothing In Between at Three Four Three Four (Brooklyn, NY), The Relatedness of Parts at Java Projects (Brooklyn, NY), Gate E and Surface Matters at Muscle Beach (Portland, OR), Will You at Pratt Institute (Brooklyn, NY), and If You Give Him a Flower, He’d Keep it Forever at Zax (Queens, NY). This will be her third solo exhibition in New York.

Continuing our exploration of raw industrial materials, ABSOLUTE BEIGE is a radical interpretation of the traditional living room set. The collection pairs a flexible polyurethane rubber, chosen for its resemblance to both amber and medical waste, with flesh-colored Corian slabs. Drawing inspiration from the photography of Thomas Demand and 1970s furniture catalogs, ABSOLUTE BEIGE offers an experience that is at once familiar and alien.

WINTERCHECK FACTORY is Kristen Wentrcek and Andrew Zebulon Williams. Located in Bed-Stuy, Brooklyn, the studio designs and fabricates an in-house furniture line alongside project specific installations. With experience in designing custom fixtures for retail, office and residential projects, the duo also produces ongoing independent showcases for contemporary artists and designers.

During NYCxDesign in 2016, the studio created “NYCxSkymall,” a group show of objects from 15 designers from across the US. Their most recent production in November, “TOUCHING”, showcased large sculptural works from five notable contemporaries, including themselves.

WINTERCHECK FACTORY has exhibited at ICFF and Sight Unseen OFFSITE, and has been featured in various publications including Wallpaper, Dwell and Hypebeast. Designs from the studio can also be found through Kinder Modern, WorkOf and 1st Dibs.

Conceived and curated with great care and attention to pictorial and historical detail by Michael David, As Carriers of Flesh is a group exhibition of works by painters whose depictions of figures operate on personal, sociocultural and broadly political levels all at once. It is also a thematically framed generational survey of sorts, in that the senior artists in the show have been engaged with their practices and exhibiting for several decades, while the younger ones are just now emerging into greater public awareness.

Invariably the venerable veteran of the exhibition, Arnold Mesches, now still almost stubbornly active as a nonagenarian, has been crafting all manner of paintings, drawings and mixed media works since the 1940s, at times even at the risk of running into ideologically-based trouble with the authorities—indeed, his series pertaining to FBI files on him is rooted in demonstrable fact, not fiction. Where figures or self-portrayals appear in his paintings they are, on the one hand, narratively ambiguous positionings, yet they are sometimes also politically provocative, confrontational, defiant—a prole artist’s rebuke of authority, say, and the avaricious crush of capital. More plaintive, in a sense, and delicately empathic are Peter Williams’s figurative works that wrangle in quite fantastically envisioned ways with racial messaging and implicit inequalities, while featuring also certain autobiographical particulars that could even go unnoticed in light of his bright palettes and sometimes surreal and sinuous arrangements. In this same league of seasoned painters is Brenda Goodman, who in recent years has enjoyed a much deserved surge of interest in her work. Her representations of the body are deeply emotional expressions, and as tied to her love of the materiality of paint itself as to her yearning to come to pictorial terms with what it is to physically exist. They are at times quite textured, at times smoothed over—and at times small, large, monstrous. And this range is not because our bodies come in so many shapes and sizes. Rather, it’s because one can feel oneself, in one’s very own body, as a carrier of multiple forms from one moment to the next. ‘Today, I am this,’ Goodman seems to say—her utterances vocalized in paint.

The two younger artists in As Carriers of Flesh are Heather Morgan and Paul Gagner. Morgan’s works feature female bodies eroticized in ways that suggest pop-culture-like manifestations of sexiness and allure, yet their sometimes dashed polish or intentionally unfinished aspects hint at the patent falseness and commodified creepiness of all such imagery. Her posing women might appear to be winking, in other words, or even pointing and curling a come-hither finger, but they will cut you. Gagner’s paintings feature a kind of wink as well, yet of the humorous, tongue-in-cheek sort, for their content and figurations alike often operate as witty send-ups of the ‘seriousness of abstraction,’ and of the questionable virtues of regarding seriously oneself.

Many of the works in As Carriers of Flesh are richly textured, layered, encumbered, belabored. Certain others register as markedly limpid, untroubled, fluid. That is, their surfaces convey a tactile range that relates to how our very own bodies feel over time as we grow, mature, experience, age. Their array of constituent figurations, then, becomes even more relevantly analogous to how our lives can feel brilliant and beautiful in one moment, and in the next painful and grave. We all carry, consider and deal with our flesh, regardless of its amount or color, and regardless of what organs it covers. As carriers of life, that is, there’s something we invariably share: Our minds might seize days, but our bodies collect them.

Philip Hinge received his MFA in painting from Virginia Commonwealth University and his BFA in painting from the Maryland Institute College of Art. His work has been shown at various venues including; Brennan & Griffin (New York, NY), CONNERSMITH (Washington, DC), Freddy (Baltimore, MD), and 24hour Charlies (Los Angeles, CA). Hinge currently lives and works in Ridgewood, NY.

Greenpoint Hill Offers a Curated Collection of Work
from the Thriving Local Greenpoint Artist Community and Beyond

October 17, 2016- Greenpoint, NY- Greenpoint Hill (greenpointhill.com/), located at 100 Freeman Street, deep in the heart of Greenpoint’s studio and arts district, is set to open on October 20th, with an opening party from 7-10 p.m..

The gallery and retail space follows a simple vision: to showcase exceptional handmade objects, art, and jewelry, and to connect with the audience and customers who seek to include these objects in their everyday lives. The gallery will feature an exhibition by a different artist each quarter. Works by other makers will also be on display and available for sale, and will include original paintings, prints, sculpture, functional ceramics, handmade jewelry, and other exquisite objects.

Greenpoint Hill’s inaugural exhibition, “Ladies Who Lead,” features new works on paper by prominent local artist Libby VanderPloeg. VanderPloeg’s work spans painting, paper craft, mapmaking, and animation. Her illustrated gif celebrating Hillary Clinton’s candidacy, titled Shimmy If You’re With Her, recently went viral.

Longtime Greenpoint resident and local artist Kim Brown is launching the Gallery.

“I have lived in Greenpoint for eight years and believe the time is right to share the work of exceptional local artists with both longtime residents and newcomers,” said Brown. “I am interested in blurring the lines between fine, functional, and decorative art, and the pieces we showcase will reflect that. Work in the gallery will span a variety of price points. My hope is that anyone who visits the shop and connects with the work will be able to leave with something special, whether it is a $30 print or an $800 limited edition porcelain sculpture.”

Brown lives with her husband Seth Founds, the owner of local Greenpoint institution Pentatonic Guitars and her two dogs Claude and Hugo. The gallery will be open every Thursday-Saturday 11-7 and Sunday 11-6, and by appointment.